The Innocents features an image stream, an interview with Truman Capote’s desire, and shapes that correspond to the former through the instructions of the latter.
LIVE from Stockholm
Friday 25 September 2015, 15:45 (CET)
Frances Stark in conversation with Negar Azimi
The First Mark is a poetic, immersive observation of Peter Nadin’s Old Field Farm.
Both a diary and a poetic reverie, the film opens the doors to Peter Nadin’s activity in which art and agriculture come together. By following the documentation of the farm’s activities—chicken feeding, bee-hiving or pig breeding—we are taken within Nadin’s extraordinary thoughts and visions.
Located in an uncertain yet near future, ECHT depicts a scenario in which British institutions and ruling systems have collapsed and the current regime is characterised by a fast-track feudalism. In it, status is based on conspicuous consumption and hoarders are kings, having set up their new courts in former dance halls and clubs. ECHT has been shortlisted for the 2015 Jarman Award.
In 2014, Erik van Lieshout set up a workshop in the basement of the Hermitage Museum to improve the living areas of the large community of cats that has been living in the museum for more than 200 years. The Basement documents this process while following the artist’s unique and idiosyncratic rhythm and methods.
The Radiant explores the aftermath of March 11, 2011, when the Tohoku earthquake triggered a tsunami that killed many thousands and caused the partial meltdown of the Fukushima Daiichi nuclear power plant on the east coast of Japan. Burdened by the difficult task of representing the invisible aftermath of nuclear fallout, The Radiant travels through time and space to invoke the historical promises of nuclear energy and the threats of radiation that converge in Japan in the months immediately following the disaster.
The recent transformation of the city of Istanbul is critically analysed by a heterogeneous group of inhabitants of the Turkish metropolis. Discussing such topics as the impact of tourism, the effects of gentrification, and the results of urban policies on their daily lives, the single individuals also comment on the complex sharing of the city with their fellow denizens.
The Republic, shot in both Athens and Detroit and set to a score by Sam Prekop, turns the two locations indiscernible, in a hybrid city-state that emerges from the edit. Throughout the film a group of laborers flip an automobile in a winter landscape as both an invocation of the myth of Sisyphus and a reenactment of civil disorder.
“As farm animals are prohibited throughout Recife, those who get about by horse are rendered invisible in the eyes of the law. Only by treating the Horse-Drawn Cart Race as if it were a scene from a movie — that is, by having it considered to some extent as a piece of ‘fiction’ — would it be possible to obtain the authorisations needed to make it happen.”
Los Angeles City Hall is reflected onto the window of the Paradise Motel. It serves as an anchor for this traversal through the natural expanse of California. Here, we discover a restrained psychodrama of play, loss, and the transformation of everyday habitats. Music appears across the interiors and exteriors and speaks of limitlessness and longing.
Born out of Carl Jung’s notion of India as a “dreamlike world” and of Sudhir Kadar’s analysis of India as “the unconscious of the West”, The Strife of Love in a Dream is a trancelike film experiment, whose intensity grows throughout a crescendo of images and sounds that take the viewer to a unique experience in which western and eastern imageries are deeply entangled and cannot be divided.
Vdrome is happy to announce the collaboration with the ICA Artists’ Film Biennial (3 Jul 2014 – 6 Jul 2014), a four day celebration of artist film and moving image, consisting of screenings, new performance commissions, talks and panel discussions.
Two major recorded events structure Black Magic Marker: the voice over of the poet and reggae promoter Henry W. Targowski, who recalls his visit to Lee ‘Scratch’ Perry’s Black Ark studio in Jamaica, and the visual depiction of Lee Perry’s current house in Switzerland. Together, these two situations weave a narrative in which history and present appear inseparable.
The film presents a speculative exercise about the relation between ecological theories and sociologic, economic and management models. Such reflections are intercalated with tales about the ritual of anthropophagy in Brazil in the early 16th century, whose imaginary defines the film’s visuals, be it microfilms of books and etchings, or museological and graphic material on Amerindian socio-cosmologies.
While the world is getting to an end, various characters from war games: terrorists, guerrilla warriors and policemen, find themselves trapped in the peaceful setting of a luxurious countryside hotel maintained by a chicken. Bored and facing their uselessness, they engage in random, idle acts and existentialist interrogations to fill their time.
Last day to watch Canoas by Tamar Guimarães on Vdrome.
Canoas focuses on the preparations for a cocktail party at Casa das Canoas – the house Oscar Niemeyer built for himself in the early 1950s. The film stages a situation that echoes the house’s past use and glamour, set in the contemporary Brazilian cultural scene.
Threading softly on the footsteps of the French ethnographer Jean Rouch, Marine Hugonnier travelled along the Niger River, where she met the descendants of the Songhai, the protagonists of Rouch’s film Les Maîtres Fous (1955). This encounter became the set for a filmic reflection on the role of the artist and filmmaker and its chameleonic condition in-between an invisible observer and subject with its own voice.
In 2012 Simon Starling traveled to Tahiti and Honolulu to film the transit of Venus across the sun, which is only to be seen again in 2117. The 35mm film explores the parallel developments between the history of science and that of cinema, associating the evolution of moving image technologies with that of astronomic research.